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Double-Grossed 

A Comedy in One Act 



By 
CHARLES C. MATHER 



NOTICE TO PROFESSIONALS 

This play is published for amateurs only. Professional com- 
panies are forbidden the use of it in any form or under any title, 
without the consent of the author, who may be addressed in 
care of the publishers. 



BOSTON 

WALTER H. BAKER & CO. 
1916 



Double-Crossed 



CHARACTERS 

Joe Thomas. 
Mel Treman. 
Edith Thompson. 
Mary Roe. 
Mrs. Thompson. 
William, the butler. 




4> / 



Copyright, 191 5, by Charles Chambers Mather 

Copyright, 1916, by Charles Chambers Mather 

Professional and moving picture rights reserved. 



APR l4l9l6©a.D 43031 



Double-Crossed 



SCENE. — A well-furnished bachelor'* s apartment with doors 
at back, right, and left. The door on the left is marked 
private and leads to a law office i?i connectio?i with the suite 
of rooffis. Fireplace a?id large easy chairs. Library table 
and reading la?np on it, right centre. Large easy chair by 
table, French windows at back, 

( Curtain rises on above scene with Joe Thomas seated in the 
chair by the table. He is leaning forward, hands clasped 
between his knees and with an expression of deep abstrac- 
tion on his face, ^ 

Mel Treman (entering from the right, struggling with a 
tie which will not slide under his collar ; his struggles carry 
him to the fireplace above which is a long mirror ; standing 
in front of it for a moment and then). Of all the contempt- 
ible, low-down contraptions, you take the biscuit ! ( With a 
final tug,) There, hang you ! ( While tying his tie he catches 
sight of Joe in the mirror. He leans forward and looks into 
it and then slowly turning arotmd, walks over to Joe, who 
never varies his positio?i or expression, ) Well, which one of 
the fates are you? {Follows Joe's set gaze,) What do you 
see? The Gorgon's head ? 

Joe {still absorbed), Mel, do you think it's possible to love 
two girls at the same time ? 

Mel. Oh, I see you're not a fate after all. You're Cupid ! 

Joe. No, seriously, do you think it possible ? 

Mel. Well, that depends. I think a fellow thinks that he 
can, but in reality he always loves one more than the other. 
I know I've been madly in love with as many as five at a time. 
Always got a thrill every time I met one of them. Met 'em all 
at a party one time and had to leave. Had a chill. 

Joe. Mel, I'm in an awful fix. I want to get married and 
I can't choose between two girls to save my neck. If I choose 

3 



4 DOUBLE-CROSSED 

either one, Tm afraid I'll regret not taking the other. Oh ! 
why should such important decisions be placed upon poor weak 
men ? {Head on ha?ids.') 

Mel. So you want to get married ! Why, you old blather- 
skite, why didn't you tell me about this before? Goin' to 
leave me all alone here by myself? 

Joe. Oh, cut the nonsense, Mel. Be serious once in your 
life. If you ever were of any use show it now. Do you real- 
ize that my whole future rests on this decision ? If I propose 
to the wrong girl, just think what it means. Life, ambitions, 
hopes. All gone to the dogs ! 

Mel. Aren't you presupposing an awful lot? 

Joe. How ? What do you mean ? 

Mel. Of course you haven't seen fit as yet to confide in 
me just who the damsels in question are, but you seem perfectly 
confident in any case either one of them will fall all over her- 
self to accept your proposal. You know accidents happen, and 
you can't always some time tell from where you sit whether it's 
soup or gravy. 

Joe. You know the girls as well as I do, or at least you 
ought to. One is Edith Thompson — the other is Mary Roe. 
And as for refusing me, it's not to be thought of. Both of 
them are crazy about me. It's only a question of which one. 

Mel. How we hate ourself. Thompson — Thompson — 
what Thompson is that ? 

Joe. J. W. Thompson — used to be a big real estate man — 
died three years ago — you know. 

Mel. Oh — I see — I thought the name was familiar — she, 
Mrs. Thompson, is one of my clients, and furthermore I have 
an appointment with her this very afternoon. I didn't know 
she had a daughter, though. Where did you meet her ? Say, 
Joe, you never did tell me the history of this love affair — how 
you met the girls — whether you were soul-mates, or whether it 
just grew on you gradually like rheumatism or any other dis- 
ease. All the little particulars, you know. 

Joe. I met Edith at college. Ed Boyd introduced me to 
her at the Frojn, and I had a dance with her. Found out she 
lived here in Boston, and naturally looked her up when I came 
home. 

Mel. Oh, I see. And the other one. Miss Roe ? 

Joe. If you weren't as blind as a bat, you would have been 
in love with her yourself. 

Mel. What do you mean ? 



DOUBLE-CROSSED 5 

Joe. I mean that Miss Roe lives here in this same building, 
in the apartment above, and that you have ridden in the same 
elevator with her a hundred times. 

Mel. Tm a busy man, Joe — haven't time for every pretty 
face I see; but you haven't explained how you met her yet; 
how you became acquainted. 

Joe. Well, you big simp ! Live in the same building for 
two years and couldn't get acquainted. Do I look mentally 
deficient? 

Mel. Can't say you look it, but looks are deceiving. 

Joe. Truest thing you know. Only thing that's kept you 
out of the nut- house this long is the truth of that remark. 

Mel {musing). Meets one at a dance, pours sweet noth- 
ings in her ear to the time of a turkey trot ; meets the other one 
in an elevator; bumps heads with her over a fallen handker- 
chief. Love in a cage. How romantic ! 

Joe. Things move rapidly nowadays. 

Mel. Joe, why don't you let the girls fight it out? Draw 
a ring and let 'em go to it. Best one gets the man. 

Joe. Neither one of them knows about the other. I com- 
pliment myself on that, too. 

Mel. Well, you conceited ass ! 

Joe. Fact, although it has made me gray managing it 
sometimes. You see they are different types entirely. Edith 
is a girl with lots of common sense, lots of ability, and, as you 
know, wonderfully handsome. Just the kind of a wife a fellow 
would pick out if he could buy her at a store. Mary is just 
the opposite — ^jumps at conclusions, witty, emotional and incon- 
sequential, but with a wonderful lot of attraction. Oh, con- 
found it ! I've got a notion to toss up for it. 

{Bell rings and William shows Edith Thompson and 
Mrs. Thompson /«.) 

Edith {coming forward). I thought I would come along 
with mother. You know she has some business with Mr. 
Treman. 

Mrs. T. Yes, I always like company when I call on a 
lawyer; a sort of moral support, you know. 

Mel {making frantic signs to be introduced to Edith). 
Ha ! Ha ! Pretty good ! 

Joe. Oh, I beg your pardon. I want to introduce Mr. 
Treman, my roommate. Miss Thompson, Mr. Treman. 



6 DOUBLE-CROSSED 

Mel. I am very glad to know you, Miss Thompson. 

Mrs. T. So you are the Mr. Treman I have heard Mr. 
Thomas speak of so many times. I might have known it had 
I only thought. You were his roommate at college, were you 
not? 

Mel. Yes, Joe and I have been together for eight years, 
and there's a lot I don't know about him yet. 

Mrs. T. How splendid ! Quite a Damon and Pythias. 

Joe {who is facing Mel, talki^ig to Edith, makes signs to 
Mel to take Mrs. T. i7ito the ?iext room). Yes. 

Mel. I've always basked in the sun of Joe's glory. When 
in college, you know, he was a wonderful athlete, and it was 
honor enough for me to just be his intimate friend. He always 
was ambitious. I always was satisfied with one where he must 
have two. 

Mrs. T. I had heard of his athletic prowess and of the 
great number of trophies he had won. I always enjoy looking 
at trophies. There is such an interesting history attached to 
each. 

Mel. Would you like to see his ? They are in my office 
here. 

Mrs. T. rd love to. 

Mel. We'll go in and see them and I can look over these 
papers at the same time. Combine business and pleasure. 
{To Joe, who has been 7naki?ig secret love to Edith.) I'm 
going to show Mrs. Thompson some of your tin. Be back 
soon. 

Joe. All right. No hurry. {Secretly holds Edith's hand.) 
Well, they're out of the room. 

Edith. Well, what of it? You seem nervous, Joe. What's 
on your mind ? 

Joe {silent for a moment). Am 1 nervous? I have enough 
to make me so, for I have just decided one of the biggest deci- 
sions of my life and you see me in the stages of the aftermath. 

Edith. And just what is this great decision, if you will 
pardon the impudence ? May I not be a confidante ? 

Joe. Edith, I have decided, after much consideration, that 
I should marry and was coming this very evening to ask you 
to honor me by becoming my wife. Instead, 1 ask it now. 
Will you marry me? 

Edith {much moved). Why, Joe, I never knew. I didn't 
think of you that way. 1 never considered the fact — I 

Joe. But will you ? 



DOUBLE-CROSSED 7 

Edith. I can't, Joe. Really, I couldn't. Why, we have 
only known each other for relatively so short a time. I am 
afraid I must, say — no. 

Joe. But, Edith, your arguments are all so 

Mel (J?ringi7ig Mrs. T. back). Oh, yes ! Quite. 

Joe {contimiing rapidly and fnoving away from Edith), 
■futile, for you have no practical knowledge of warfare and 



therefore there are so many things that you do not take into 
consideration. {To Mrs. T.) We were just discussing mili- 
tary tactics, Mrs. Thompson. 

Mrs. T. Quite an interesting topic. You evidently have 
quite a little prowess yourself, Mr. Thomas, if your collection 
is any evidence. 

Joe. All won in peaceful pursuits, Mrs. Thompson. I'm 
afraid Fm too much of a coward to enter an engagement. 

Mel. That depends on the sort of engagement, doesn't it, 
Joe? 

Joe {quickly changing the subject with a scoivl at Mel). 
By the way, Mrs. Thompson, I want to ask you something 
while it is on my mind. 

Mrs. T. Yes. 

Joe. I should like very much to have you and Edith at a 
dinner party I am giving at the Copley Plaza next Thursday 
evening. Can you find it convenient? 

Mrs. T. I shall be delighted. 

Joe (to Edith). And you ? 

Edith. Thank you very much. I should love to come. 

Mrs. T. {glancing at the clock). Good heavens, Edith! 
It's getting late. We must be going. (Moves toward the 
door,) I have enjoyed my little visit ever so much, Mr. 
Thomas. 

Joe. So sorry you can't make it longer. 

Mel. Call again soon. I'll see that Joe's out and we'll 
have a good time. 

Mrs T r Good-afternoon ! 

Mel i Good-afternoon ! 

Joe {dropping into a chair), I knew she was the wrong 
one, anyhow ! 

Mel. Well, how did you come out ? 

Joe. She refused me. 

Mel {mimicking Joe's previous speech). And for refusing 



'8 DOUBLE-CROSSED 

me, it's not to be thought of. Both of them are crazy about 
me. It*s only a question of which one. 

{He goes off into paroxysms of laughter.^ 

Joe. Aw, shut up, you big boob ! You make me sick. 
You never did have any sympathy. 

Mel. Don't get your back up, old boy. I'm awfully sorry, 
but it just struck me funny. It has accomplished one thing, 
anyhow. 

Joe. What ? 

Mel. By the process of elimination a great decision has 
passed out of your jurisdiction. You no longer have a mo- 
mentous problem. 

Joe. That's so. To tell the truth, Mel, now that it's over, 
I'm glad she did refuse me. Mary is the girl, anyway. After 
all, it is the girls who make up their minds on the moment that 
count. The ones who depend on their feelings, not their intel- 
lects, to make their decisions. That's what they marry men 
for. Men furnish the intellect for their wives. I don't like 
business women. 

Mel. Well, from the looks of things you won't be bothered 
with a business woman for a wife; though goodness knows 
how you'll get along with any other kind. You've depended 
on me for so long a time. Say, why don't you marry me, if 
you must marry ? 

Joe. This thing seems like an awful joke to you, doesn't it ? 
But just wait, old boy ! Your time will come. 

Mel. Never. {Wipes his face, ^ The very thought of it 
puts me in a sweat. It sure is hot in this place. You'd sit 
here and smother before you'd open a window. I tell you you 
can't get along without me, Joe. 

{Goes to back and opens French window. While he is backy 
the door opens and William, supporting an apparently 
fainting girl, enters the room, ]o^ Jumps at the sight of 
her and runs forward.) 

Joe. Mary Roe ! Why, what is the matter ? (Leads her 
to a chair y removes her coat and hat. To William.) William, 
some ammonia, quick ! \^Exit William. 

Mel. What's the matter? 

Joe. It's Mary Roe. She's apparently fainted. Overcome 
by the heat, I guess. 



DOUBLE-CROSSED 9 

William {entering with a bottle). Here you are, sir. 

Joe. Very well. Now a glass of water. {Exit William. 
Joe fans Mary Roe and places the ammonia under her nose^ 
and as she begins to revive gives her the water William has 
brought.') That will do, William. 

William. Very well, sir. 

Mel. Perhaps Td better go, too, Joe. 

Joe. Yes, beat it. \^Exit Mel. 

Mary {sitting up and looking around^. Why, where am I ? 
Oh, why it's you, Joe. Why, how did ? Oh, yes, I re- 
member now. [Hands to her head,) 

Joe. You seem to have keeled over, Mary. How do you 
feel? 

Mary. Oh, much better, thank you. How foolish of me. 
I got off the floor below ; stopped in at Mrs. Wheelock*s, you 
know, and decided to run up the stairs afterward instead of 
taking the elevator. I felt rather dizzy when I got to this floor, 
but thought nothing of it until I got just in front of your door, 
when the floor flew up and hit me. I don't remember anything 
after I pressed your bell. 

Joe. William evidently found you in a faint, for when he 
brought you in here you were completely out. You're all right 
here, and if you sit still a while you'll feel fine. Let me take 
you over near the window here. There's a fine breeze here. 

{Helps her to window seat at the back,) 

Mary. Oh, I'm all right now. Lucky I poked your bell. 
My, how high we are 1 

Joe. Yes, it always reminds me of the time I first met you. 
Do you remember ? We were at the sixteenth floor. 

Mary, Yes. That was two years ago, wasn't it? 

Joe. Has it been that long? How time does fly. Espe- 
cially in congenial company, and you know we have spent a lot 
of time together. 

Mary. You always were a flatterer, Joe. I suppose that is 
a bachelor accomplishment. 

Joe. Mary, I was just thinking to-day that I had been a 
bachelor long enough. 

Mary. I thought you were confirmed. 

Joe. I used to think so, too ; but I have seen things dif- 
ferently since, and I v/ant to change my faith. 

Mary. And so mighty Csesar has fallen ! Be careful ! It's 



10 DOUBLE-CROSSED 

a dangerous step, Joe. May I ask who the young lady of your 
choice is ? 

Joe. Mary, I thought that you knew ! It's you ! Can't 
you see how I want you ? How I've always wanted you ? My 
thoughts have been of you day and night for the past year ! I 
want you. Will you be my wife? 

Mary. Oh, Joe ! Why, Joe ! This is quick ! I haven't 
got my breath yet. I must consider. No, I can't do it, Joe. 

Joe. But, Mary 

Mary. No, I couldn't do it, Joe. I must think about this. 
I'm all upset. Oh, where is my hat? Please get me my coat. 
I shouldn't have stayed so long. Thank you. 

Mel [comifig in at the door). Oh ! I beg your pardon ! 
Joe, I didn't know you had callers ! Excuse me. 

(Starts to withdraw.) 

Joe {scowVuig at Mel). Don't go, Mel. This is Miss 
Mary Roe. Miss Roe, Mr. Treman, my roommate. 

Mary. So glad to meet you, Mr. Treman. Sorry I can't 
enjoy your com.pany a little longer, but circumstances force me 
to leave. I hope you won't think me improper, but I am sure 
Mr. Thomas will explain my presence. Good- afternoon. 

Both . Good - afternoon . 

Joe (walking up to Mel). You big chuckle-head ! I've 
got a notion to knock your block off ! 

Mel. Now what's the matter? 

Joe. You know. Wiiat did you butt in again for? The 
other time you brought mother back, and this time you came 
in yourself. Why don't you market that head of yours? 

Mel. Good Lord, a man with your experience should have 
landed Cleopatra herself in the time I allowed you, and if you 
didn't make good, you haven't profited by experience is all I 
can say. 

Joe. You know a lot about women, you do. Why don't 
you go in the cloak business ? 

Mei,. Say, didn't you get this one, either ? 

Joe {with a change of front ^. No, damn it ! She turned 
me down, too ! But 1 might have if you hadn't queered the 
whole thing by your entrance with the dispatches. You make 
me sick ! 

Mel. If you keep on I'll be married before you are. 

Joe. No fear I Your face will protect you. A man with 



DOUBLE-CROSSED 1 1 

a face like yours is immune. Now that I look at it, it does re- 
semble a vaccination mark. 

Mel. Never mind that face. {Looks in the mirror.) Tve 
worn it around so long now that I've grown to like it. In fact, 
it fits me just like an old coat. Tve shaved it so much 1 know 
every crook and cranny in it. I wouldn't trade it for a farm. 
I know it will grow whiskers. Tm not sure about the farm. 
But say. About this marriage business. Who else you got on 
the string? 

Joe. I've stood about enough from you. >. 

Mel. That isn't a bad looking girl that helps William clean 
up around here. 

Joe. You big dub ! I'll smash your face. (Starts after 
Mel, ivho runs around the table and chairs laughing. He is 
finally cornered, and weak from laughter is easy prey for the 
badgered Joe. /// the midst of the pumfneling the telephone 
rings, Joe stops while Mel points at the 'phone, Joe goes to 
it.) Hello! Yes, this is he. Oh, yes! that you, Edith? 
What ? You will ? After all ? Well, you old dear ! Yes — 
yes — rU see you later. Good-bye. (^Gets up and dances a 
jig. As he goes by Mel he snaps his fingers ufider his ?iose.) 
There, you old calamity howler ! Shows how much you 
know. You see before you an engaged man. 

(Struts up and down.) 

Mel. So you accepted the business after all ? Til bet she 
went down to look you up in Bradstreet's. 

Joe. She certainly is a wonderful girl in every respect. 
She simply delayed long enough to find out whether her choice 
was colored by her feeling, and 

Mel. Finding you were well rated, her intellect said *^ take 
him." So you're took. 

Joe. You've about as much romance in you as a cabbage ! 
It's going to be announced at a dinner party at the Copley 
Plaza next Thursday night. Gee, I gotta get busy with my in- 
vitations. Will you come? 

Mel. Oh, I'll think about it. 

Joe. You'll do no such a thing. Will you or won't you? 

Mel. Of course if you insist, I suppose I'll have to come. 

Joe. All right. (Puts name in book.) That makes three. 
This is going to be some dinner, so you'll have to behave. No 
rough stuff goes. I know I shouldn't invite you, but you can 
entertain some of the mothers. What is it, William ? 



12 DOUBLE-CROSSED 

(William enters with a note on a salver,^ 

William. A boy just brought this note, sir. He's waiting, 
sir. 

Joe {taking note from salver ; placing coin on it). Give 
him that. 

William. Very well, sir. \^Exit. 

Joe (opening the note and reading it). Oh, Lord ! 

Mel. Now what's the matter ? 

Joe {handing the note to Mel, which the latter reads). 
Read it. 

Mel {reading^, *'Joe, I've changed my mind. I accept. 
Mary Roe." 

(Mel doubles up with laughter.) 

Joe. Well, what do you know about that ? (Dazed.) 

Mel. Don Juan has nothing on you, engaged man. This 
Mary Roe has temperament. Tell it by her handwriting. 
You're liable to a breach of promise suit ; do you know it? 

Joe. But what am I to do ? 

Mel. If she does sue you, let me have the case, will you ? 
Maybe I can marry the plaintiff, thereby removing the suit. 

Joe. But good Lord, Mel. What am I to do? This thing 
is serious. I've got myself into a pretty fix. Use your head 
and let's fix something up here. I've got to get out of this. 
I can't marry both of them. 

Mel. Take 'em to Turkey and maybe you can get away 
with it. 

Joe. For Heaven's sake, Mel. Help me out. I'll go 
crazy here in a minute. 

Mel. Calm yourself, Joe. Calm yourself. Look at me. 
Cool as a cucumber. Now sit down. I've got an idea. 

Joe. Well, out with it. What is it ? 

Mel. Well, here it is. If I know anything about feminine 
nature, and sorry as I am to say it, I do, the first thing the 
girl that really loves you will do is to come and see you in order 
to soothe your ruffled feelings after she has turned you down. 
Women are just like a dog with a bone. They'll bury the bone 
and then watch over it to see that no one gets away with it. 
Now, my idea is for you to marry the girl that comes to see you 
first, for it's as plain as two and two that she is the one who 
loves you most. There you are ! 

Joe. But what am I to tell the other girl? 



DOUBLE-CROSSED I J ' 

Mel. Tell her you were engaged to another girl before you 
got her message. 

Joe. I guess that's about the only way out of it. I'm in 
for a bad scene any way you fix it. And this looks like the 
least stormy. I'll do it. How soon do you think one of them 
should show up, oh, thou of much wisdom ? 

Mel. I should say that in a case of the most ardent love 
that a good sleep would be necessary before any move would 
be made, of course. 

William. Visitors, sir. 

Joe. Show them in, William. 

(William shows Mary and Edith into the roojn at the same 
time. They both start toward Joe, and then each realizes 
the other'' s presence i and embarrassment follows,^ 

Mel {hiding behind a large chair while Joe stands with his 
mouth wide open in the middle of the room). Going down ! 

{Squats,^ 

Joe. What's the use? (^Collapses in chair.) 

Edith | (runfting forward ; together). What's the trouble? 

Mary \ Are you ill ? 

Joe {sepulchrally). It's all over ! 

Mary. What's all over ? 

Edith. What do you mean ? 

Joe {gaining mastery of himself). Ladies, please be seated. 
Mel, get up from behind that chair. I want you for a witness. 
Edith and Mary, I've a confession to make which circumstances 
force from me. Listen to me and then judge me as you will, 
but remember I am a victim of circumstances. For a long 
time I have been in love with both of you girls, and as you sit 
there now I don't know which one of you I love most. To-day 
I decided to propose to one of you, but which one I could not 
decide. Fortunately, or unfortunately, I can't foresee which 
fate decided for me when Edith and her mother dropped into 
my apartments. Yielding to her nearness I proposed only to 
be refused. She and her mother left, and shortly afterward 
Mary was in my room, due to what circumstances we all know 
but Edith. Loving her equally well and again yielding to her 
proximity, 1 again proposed and was again refused. Sometime 
later I received a telephone call in which Edith signified a 
change of mind, and accepted — followed in a short time by 



14 DOUBLE-CROSSED 

Mary*s note of acceptance. That is the situation, ladies, and 
I throw myself upon your mercy. Do with me what you will. 

Mary {who^ during the cofifession, has stifled a strong desire 
to express hers e If ^ rises with her nose in the air^. Of all the 
insulting situations I have ever been in this is the worst. I am 
sure I would never have accepted your proposal had I not felt 
sorry for you. I should have suspected you, anyway, for I 
never did trust a man who wore loud ties. I am sorry but I 
think I shall have to leave. I was going to tell you that I came 
for the purpose of retracting the statement of my note, but you 
have saved me the trouble. Good-day ! \^Exit. 

Mel. That girl's got a head ! I'm going after her. Any- 
body that can beat as graceful a retreat as that has my sympathy. 

lExit. 

Joe (turning to Edith, who has been standing with her head 
down.) Well, Edith? (Edith looks up and slowly smiles, 
Joe holds out his arms ^«// Edith walks into them.) It worked 
out all right. You crossed the door one step in the lead. 



CURTAIN 



THE SNOW IMAGE 

And Other Plays for Children Suitable for Stage 

or Schoolroom 

By E, Antoinette Luques 

These little plays are the work of an experienced teacher, the themes 
are well selected, treated with the skill, propriety and sympathy acquired 
through long and close experience with childhood, and are provided with 
full instructions not only for production on a regular stage but for adapta- 
tion to the conditions of the schoolroom. Strongly recommended. 

Price f 2 J cents 

CONTENTS 
The Snow Image, 2 males, /^females. The Spirit of Memorial Day, 4 males ^ 

Hiawatha's Childhood, 13 males^ ^females. 

1^ females. The Story of the Poplar Tree, 7 males 

15 females. 

TABLEAU AND PANTOMIME ENTERTAINMENTS 

For School or Public Performance 

By Clara E, Cooper, Bertha Currier Porter, 
Laura M. Parsons and others 

This collection comprises two new and four well-known and popular 
entertainments of the same class. The moving tableau is steadily gaining 
in appreciation over the old picture-tableau and this collection offers an 
excellent choice of such material. 

Price, 2 J cents 

CONTENTS _^ 

In Sleighing 'Time, /^males^ ^females, Living Pictures of the Civil War, 

reader and chorus. ad libitum. 

Choosing an Occupation, 6 males, 5 A. "Ward's Wax Figger Show, ad 

females and reader. libitum. 

Pictures in the Fire, 4 males, /^females, Dramatized Readings, ad libitum. 

and supers 

GREEK COSTUME PLAYS 

For School, or Lawn Performance 
By M, Nat aline Crump ton, Mrs, Mary Z. Gaddess, and others 

An assemblage of popular entertainments mostly on classical subjects 
and calling for Greek dresses. All have been popular as independent 
publications, in which form many are still in print. The following list of 
titles will amply suggest the nature of the themes. 

Price, 2^ cents 

CONTENTS 
Antigone. By Sophocles. 5 males, Theseus. By M. Nataline CrumptOD% 

3 females. 7 males ^ 'j females and supers. 
Ceres. By M. Nataline Crumpton. The Ivy Queen. By Mrs. Mary l^ 

2 males, 12 females. Gaddess. Ad libitum. 

The Convention of the Muses. By The Revels of the Queen of May 

Ella Skinner Bates, ^females. ^ and Her Fairies. By Mrs. Mary 

Pandora. By M. Nataline Crumpton. Lr. Gaddess. 1 bqy, 45 girls, 

4 males, ^females. 



EXCUSE ME I 

A Comedy in Two Acts 
By Gladys Ruth Bridgham 
Four males, six females. Scenery, one exterior and one interior ; cos- 
tumes, modern. Plays an hour and a quarter. Robert Stetson gets a job 
on a big daily on condition that he makes good with a big sensation story 
in three days. Jack Harding, who has it in for him, plans a fake sensa- 
tion to get him in v/rong, but by accident abducts in his auto Bob's sister, 
his own sister-in-law, who has never seen him. He takes her, under the 
impression that she is really being abducted, to a bachelor suite that her 
husband has retained after his marriage unknown to her, and there his 
troubles begin when Mrs. Harding manages to escape his custody and 
people refuse to take the matter as a joke. An exceptionally rapid and 
exciting piece of comedy with lots of good parts. Strongly recommended. 

Price, 2^ cents 

CHARACTERS 
Robert Stetson, an a7Jibitious young newspaper man. 
John Harding, %vho has it i^ifor him, 
Aloysius Dalrymple, bug-house on butterflies, 
Pinkerton Bean, so7nething in the pill line, 
Elaine Stetson- Harding, Robert's sister, 
Narcissa O'Kee, Dalrymple s fiajicee^ in the ** movie*' line, 
Martha Winthrop, a neighbor of Mrs, Harding's, 
Alice Lindsey, another, 
Dora Atherton, another, 
Katie, made in Ireland, 

MARGERY MAKES GOOD 

A Comedy in Two Acts 
By Lillian Clisby Bridgham 
Six male, ten female characters. Scene, an interior; costumxCS, modem. 
Plays one hour. Josephine Sears and her " set " of girl friends plan to 
entertain an equal number of her brother Philip's college friends. At the 
last minute one of the *' inseparables " falls ill, and as a last resort, Mar- 
gery Deane, a disregarded " mouse," is invited to fill the gap. To the 
surprise and consternation of the girls, the despised mouse becomes the 
hit of the evening with the boys. An excellent piece for young people 
calling, as it does, for pretty clothes, college songs and other popular mat- 
ters. All the parts good. 

Price, 2 J cents 

MACBETH 

A Tragedy in Five Acts 
By William Shakespeare 
Twenty-three males, four females. Costumes and scenery elaborate. 
Plays a full evening. This latest addition to The William Warren edition 
of plays is the version of this play formerly used in stock at the old Boston 
Museum Company. It presents a capital acting version of this standard 
play for amateur performance. 

Price, 75 cents 



Jl> m. Pinero's Plays 

Price, 50 Z^m each 



Min PHAISINFI Play in Four ActSo Six males, five females. 
*'***-'"v^**"'*^AlI-iLi Costumes, modern; scenery, three interiors. 
Plays two and a half hours. 

THE NOTORIOUS MRS. EBBSMITH ^.^r'^^.Tt 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

THF PROFIIPATF ^^^yi^ Four Acts. Seven males, five 
I Il£i I i\\/r Lil\J/\ 1 £i females. Scenery, three interiors, rather 
elaborate ; costumes, modern. Plays a full evening. 

THF QrHfini MIQTDFQQ Farce in Three Acts. Nine males, 
lll£i Ul^nV/ULiLTliiJlIVEiiJiJ seven females. Costumes, mod- 
ern; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY ^liriZlX; 

females. Costumes, modern; scenery, three interiors. Plays a 
full evening. 



^WFFT I AVFNHFR Comedyin Three Acts. Seven males, 
OllLdLil Lil\i LaIMJuSx four females. Scene, a single interior, 
costumes, modern. Plays a full evening. 



THE THUNDERBOLT 



Comedy in Four Acts. Ten males, 
nine females. Scenery, three interi- 
ors; costumes, modern. Plays a full evening. 

THF TIMFS Comedy in Four Acts. Six males, seven females, 
a full evening. 



Scene, a single interior ; costumes, modern. Plays 



THF WFAIfFR ^FY Comedy in Three Acts. Eight males, 
1 111:1 TT£i/llV.£<i\ OHiA eight females. Costumes, modern; 
scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE ^^etli^,f'^^ntAlZ: 

Costumes, modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 

l^alter ?|. paker Sz Company 

NOo 5 Hamilton Place, Boston, Massachusetts 



LIBRftRY OF CONGRESS 




017 400 832 2 

Ci)e 5^iUiam barren Ctiition 
of 3^laps 



AS Yflll I IlfF IT Comedy in Five Acts. Thirteen males, four 
A J lUU L<lliL 11 females. Costumes, picturesque ; scenery, va- 
ried Plays a full evening. 

TAMir T F I^J^aii^^ i^ Five Acts. Nine males, five females. Cos- 
vAlTllLrl^Li tumes, modern ; scenery, varied. Plays a full evening. 

INGOlVIAff I*l^y "^ ¥iye Acts. Thirteen males, three females. 
lllUViilAJV Scenery varied ; costumes, Greek. Plays a full evening. 

IW A l?V STUART Tragedy in Five Acts. Thirteen males, four fe- 
ITiiilVl i^liJ/lAi males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

THF IWFPfBANT ftF VFNIfF Comedy in rive Acts. Seventeen 
lUC iUClVt/U Ail 1 Ur TJunlWl; males, three females. Costumes, 
picturesque ; scenery varied. Plays a full evening, 

PICHFI IFII ^^^y ^^ Yiye Acts. Fifteen males, two females. Scen- 
IMvULl^lLfU ery elaborate ; costumes of the period. Plays a full 
evening. 

THF RIVAI S Comedy in Five Acts. Nine males, five females. 
1 lilt JVl 1 ALiiJ Scenery varied ; costumes of the period. Plays a 
full evening. 

Snt SI OOPS 10 CONyUEK m^aTes, four females.^ scenery v^a^ 
ried ; costumes of the period. Plays a full evening. 

TWELFTH NIGHT; OR, WHAT YOU WILL '^,T:%^JI:.: 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

l^alter i^. TSaMv & Compani? 

No. 5 Hamilton Place, Boston, Massachusetts 

S. J. PARKHILL a CO.. PRINTERS, BO«TOM. U.S.A. 



